To provide local training for youth by creating a framework for networking, an alternative to the “palaver tree,” which would strengthen social cohesion and create a secure channel for popular education.
Many young people who manage to escape poverty and isolation will find that qualifications can lead to employment.
In light of this reality, Kino Burkina decided to start training youth through Kino film production sessions, where films are produced at low cost and in record time: 48, 72, or 100 hours, depending on the availability of members.
The themes of the films are a response to the populations’ needs and become a springboard for the development of new talents in the 7th art.
Do it well with nothing, do it better with little, do it now; this slogan sums up the essence of the initiative. It is built on the foundation of this motto and the group of young people involved and their willingness to share and common ambition.
Teaching young people to use a camera, sound equipment, computers, and video editing programs so that they can tell a story through film—a worthwhile skill to acquire. The act of getting together and working toward common goals of creation is a pathway to instil social values that are being lost such as, social cohesion, team spirit, sharing, cultural and experiential exchanges, etc. Building a databank of our social realities, cultures and traditions and the ideas of our youth immortalized in film is a sure fire way to preserve our traditional and cultural values. We are providing each country’s youth with a framework for exchange, a palaver tree.
Kino Africa has already been deployed in Senegal, Togo, and Burkina Faso and hopes to expand through the support of existing human resources. In order to do so, the organization must identify a structure that can accommodate such an initiative and identify partners. Training, follow-up, and skill building are the responsibility of the main Kino Africa office, based in Ouagadougou. The main office organizes training sessions and national and international conferences to provide members with recognition. These training, exchange, and creation sessions allow each country’s Kino cell to connect with the rest of the world. Such is the case in Canada, France, Germany, the US, etc., where Kino cells share their film productions amongst themselves. This is a way for all cells to acquire new work methods and diversify production
Here and everywhere else in the world, film production is very selective. Many film projects remain on the back burner and are likely to never be seen. Financing opportunities for filmmakers are becoming increasingly rare and in decreasing amounts. The same is true for training centres. Meanwhile, talented youth remain unemployed and spend their days talking about their stories. In the very recent past, oral literature was not an effective way to preserve and transmit our cultural values. However, ICT seems to provide new hope for building a concrete database of this cultural heritage. One camera can allow 30 young people to each take a turn filming something of personal interest. However, if we remain trapped within an individualistic mindset, we are closing the door to success.
The inspiration for Kino Burkina comes from a young Burkinabe youth who participated in the “Semaine du cinéma québécois” organized by the Vue Afrique festival of 2005. In fact, after participating in this event, the young Dimanche Yamego and encouraged by his instructor Yves Langoi, rallied a group of friends to support the rich and noble concept of Kino. After a failed attempt in Koudougou in 2005, he returned to Ouaga in 2008, and with the support of Joseph B Tapsoba, a.k.a Chocho, Manivelle Productions and many other friends, they launched the foundation for Kino Burkina. In 2009, this group became a national, non-profit association of technicians and actors dedicated to the promotion of cinema, and the training and development of its members.
KINO est un mouvement de cinéastes amateurs indépendants. L’idée de la création de KINO BURKINA est venue suite à la participation d’un jeune Burkinabé à la semaine du cinéma québécois au Burkina Faso organisée par le festival VUE D’AFRIQUE tenu en 2005.